Word: fleshly
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...looked a mile forward, they also looked two miles back. Their inherent structure had nothing to do with German or any other kind of modernist expressionism. It was closer to cubism, but with the turning and flickering of cubist shape given a jostling density, almost literally made flesh: a shallow grid torn and reconstituted by the wristy, virile, probing action of de Kooning's line. His two near monochrome abstractions at the end of the decade, Attic, 1949, and Excavation, invoke the body without depicting...
...long career, the best known are certainly the Women. De Kooning has always been obsessed, as a painter, with the bodies of women, quoting them in whole and in detail, with a unique mingling of distance, intimacy, lust, humor and spite. In them, the billowy amplitude of Rubens' flesh is sometimes reborn, along with the sardonic affection Reginald Marsh felt for his Coney Island cuties. But the women of the early '50s are his canonical ones-part archaic Ishtar, part Amsterdam hooker and part Marilyn. Their most menacing attribute is their smile, originally cut from a LIFE magazine...
...does, from "the fatal involvement, the need to remain." Nor does he think that modern gadabouts are really making a getaway. For all his engines of mobility, a man remains buried in his body as irrevocably as a turnip in a garden. And so this home county of the flesh is where Blythe finally arrives in his search for the ultimate landscape...
...pair of hard-to-get tickets may have once been a mark of theatergoing dedication. But increasingly, it is merely a sign that you are behind the times. The old-fashioned box office has, by and large, gone the way of the pinball machine and the flesh-and-blood bank teller: computers have moved in. Today ordering tickets for everything from Broadway shows to a Styx concert often requires nothing more arduous than picking up the phone and reading numbers off a credit card...
...Wagnerian of fiery voice and passionate temperament. At the Metropolitan Opera last week, the German soprano solidified that reputation in Tristan und Isolde, harnessing the mercurial spirit of the Irish princess to a voice of raw, almost primal urgency in a finely calibrated, carefully nuanced reading that gave flesh and blood to a mythical archetype. Says Behrens: "I want to make music in its logical context. I sing the beautiful parts as beautifully as I can, and if the character is screaming, I make it ugly. If the voice is just big and loud and doesn't have texture...